Yes... finally, a true take on these microphones, or a take with which I agree. First time I've heard anything like this about the 103, and the others. This is great.
I use the Gefell m930 for spoken word stuff because tonally it sounds like the tlm103 but the high end isn’t ear grating. I’m mostly happy with it but the low end is still more than I’d like. I actually have the Chandler Redd mic for singing, and I absolutely love it. Reminds me of a 251 but seems to be a little beefed up in the frequencies that the 251 lacks, areas where the u47 excels but without actually sounding like a u47. A good friend of mine who is a producer/engineer though preferred the TG over the Redd. Very weird how wildly different people’s opinions can be. Although I do think most of the love for the tlm103 comes from inexperienced people buying into the 103 supposedly being some holy grail mic. I’m not sure where that stuff starts but it always spreads across the internet. Same reason 98% of streamers have an SM7b. Honestly I preferred the tlm102 way more than the 103 but it had too much self-noise imo
Yeah, that low end on the 930 also goes down to like 10hz so it can be tough to deal with sometimes. I do think the Chandler mics are best suited for music applications as opposed to VO and I think there's an unspoken massive group of people who also tried to find a better 103 in the 102 and were left a bit disappointed. Neumann really needs another in-between condenser above the 102 and below the 103... kinda like a 102 and a half. Thank you for leaving a comment. :)
@@MarkYoshimotoNemcoff I heard your Honda commercial on gearspace, in the TG thread. It seemed you were into the TG. I thought you sounded good through the Cranbourne.
@@jamesb44 Thanks, man. I do like the Camden a lot, especially with Mojo set to Cream. I initially liked the TG but found it too sibilant overall for me. I think it was really designed as an instrumental mic and not a vocal mic.
@@MarkYoshimotoNemcoff The way it's worked for me is using EQ 2 with System not A (too airy and sibilant) instead more pristine by using system B. 1/4 of the Octaves used on System A and it drops by minus 6 db, can mic at at 2 inches or 6 in vocal booth.
I haven’t. Since there’s been another guy asking me to demo one on camera I’ve asked a couple people if they have one to borrow with no luck. I think it’s a mic that may be more popular outside of the US and possibly now kind of lost in a sea of options. Could be a bang for your buck contender.
@@MrSeeker42 I haven’t. But when it first came out years ago I emailed Guosheng to buy one and he talked me out of it. He said it would be too dark for VO. I respect that. I’ve read people say it’s kind of ribbon-like.
@@MarkYoshimotoNemcoff He may be right in one sense, but what he didn't think about is how good it would be for 1971-style VO with shag carpeting? I bet he never thought of that!
Hey Mark, so I'm back in the market and looking at the SV33. If you had SV33 money to drop would you get any other mic instead? What about the Soyuz? Also heard the impedance causes issues with some preamps on the SV33?
I am really, really, really digging the SV33 and it's been really effective on a wide range of bookings. I've done a LOT of commercials on it in just the last couple of weeks and character voice stuff and it has really delivered. The impedance on it is really low, 65 ohms, which helps to retain the fidelity of those high frequencies, but I think you could potentially run into issues if your intent was to use a pre with an input transformer and drive that transformer hard for color. The SV33 doesn't want to be gritty. It likes being super clean, which is fine for VO, but I see what you're saying. It's low impedance with a higher voltage output so it's a bit of a hot signal. So far though I haven't had any issues with the UAD stuff. The Soyuz? Ooof, that would be a tough choice. Honestly, a real toss up. I know the Soyuz is solid. Sounds like a vintage 87 and just delivers. The SV33 is pretty special, and as you can tell, I'm really enamored with it, but I still contend I need at least a few months with it to know exactly how well it will suit my overall needs. So far though, I'm more impressed with the SV33 than I have been with a mic in a long, long time. Would I buy another mic with the same money if I had to do it over? Right now the answer is no.
@@MarkYoshimotoNemcoff Thanks man, yeah, then outside of that noise floor I don't think I have anything holding me back. BTW I have the LCT 540 Sub Zero, that thing is really transparent and clean. Glad I didn't get the Authentica.
@@GearCave LOL. Yeah the Subzero is a complete re-do of the circuit and the capsule so there was nowhere to go but up. I do want to try a Subzero at some point. The noise floor on the SV33 can seem daunting but I think it can be managed. Absolutely a “buy, but with return window” scenario though.
I have the 103, u87, 416, TG Chandler, AT 4033, i returned the sub zero 540 due to a horrible airy capsule. So the 4 other main elements that cannot be excluded and that should always be considered are. 1) The preamp driving the mic 2) The A/D converters of the interface. 3) Acoustic Environment 4) Post production not always will you be sendinf files that are going to be processed by the client. They want the audio ready for use. So what skill level does one need to have to make these mics sound great? Listening to audio on Beyerdynamic 770dt 88Ohms headset the U87 and the TG sound almost identical. Then on monitors and even on a smart phone. Can you please tell us about your preamp/interface/acoustic environment? Thanks for your review. Using
I’ve had my StudioBricks One booth since 2015. Preamps/converters have changed but mostly UAD Apollo. As far as I’m concerned, the amount of skill it takes to make a mic sound good is easier to achieve than making a mic sound like “you”, which is a factor of experience and knowledge of what emotional response you can elicit from your performance. :)
@@MarkYoshimotoNemcoff Thank you for the great Video, when I said to make the mic sound good, well that was somewhat vague. I was referring to the audio as a final product if processed correctly and of course the VO performance is a whole different thread.
@@MarkYoshimotoNemcoff unfortunately I can not try it here in Croatia cause no one sells it. That’s why I’m trying to Google everything and I almost bought the Chandler one. But thank you I didn’t.
@@jer7255 Vocals or VO? Unfortunately, I don't do music and I'm really only focused on getting the best sound for pro VO so I'm not the right guy to ask about a singing mic. If you're looking for a good, yet relatively inexpensive mic without a hyped high end, it's hard to go wrong with an SM7B. For condensers, you may have to look away from the usual same-old and more at the exotic stuff like 3u Audio.
There's a good chance you weren't using the Neumann properly. I did a lot of research on it before buying one. ...a lot. Seriously, I want that time back. The TLM 103 is meant to be used in a room, not a booth. It'll sound "boxy" if there's not enough space to balance the sound. It was designed for a studio. Yeah, maybe it's not meant for you. Don't blame the microphone though.
It’s not that it sounded boxy, either in my booth or the room I worked in before the booth, it was the sibilance that was very problematic. The low end I could have dealt with. But you’re right, the TLM 103 was designed to spot record orchestras from a distance while retaining great detail. It was not the right work tool for me so I replaced it.
Yes... finally, a true take on these microphones, or a take with which I agree. First time I've heard anything like this about the 103, and the others. This is great.
Thank you!
I use the Gefell m930 for spoken word stuff because tonally it sounds like the tlm103 but the high end isn’t ear grating. I’m mostly happy with it but the low end is still more than I’d like. I actually have the Chandler Redd mic for singing, and I absolutely love it. Reminds me of a 251 but seems to be a little beefed up in the frequencies that the 251 lacks, areas where the u47 excels but without actually sounding like a u47. A good friend of mine who is a producer/engineer though preferred the TG over the Redd. Very weird how wildly different people’s opinions can be. Although I do think most of the love for the tlm103 comes from inexperienced people buying into the 103 supposedly being some holy grail mic. I’m not sure where that stuff starts but it always spreads across the internet. Same reason 98% of streamers have an SM7b. Honestly I preferred the tlm102 way more than the 103 but it had too much self-noise imo
Yeah, that low end on the 930 also goes down to like 10hz so it can be tough to deal with sometimes. I do think the Chandler mics are best suited for music applications as opposed to VO and I think there's an unspoken massive group of people who also tried to find a better 103 in the 102 and were left a bit disappointed. Neumann really needs another in-between condenser above the 102 and below the 103... kinda like a 102 and a half. Thank you for leaving a comment. :)
Thanks for the video! Aaaand the most logical question after watching it iiis... what mic did you use for the video?:)
Earthworks SV33
I've got the TG. It doesn't feel cheap. It's light, but I think that's a good thing. Also, the power supply isn't made of plastic. It's made of metal.
I had one of the first ones. The power supply enclosure has changed since then.
@@MarkYoshimotoNemcoff I heard your Honda commercial on gearspace, in the TG thread. It seemed you were into the TG. I thought you sounded good through the Cranbourne.
@@jamesb44 Thanks, man. I do like the Camden a lot, especially with Mojo set to Cream. I initially liked the TG but found it too sibilant overall for me. I think it was really designed as an instrumental mic and not a vocal mic.
@@MarkYoshimotoNemcoff The way it's worked for me is using EQ 2 with System not A (too airy and sibilant) instead more pristine by using system B. 1/4 of the Octaves used on System A and it drops by minus 6 db, can mic at at 2 inches or 6 in vocal booth.
@@voa23 Glad to hear it works for you.
Mark, good video. Have you ever played with the Shure KSM32? It's supposed to be really smooth and is quiet and inexpensive.
I haven’t. Since there’s been another guy asking me to demo one on camera I’ve asked a couple people if they have one to borrow with no luck. I think it’s a mic that may be more popular outside of the US and possibly now kind of lost in a sea of options. Could be a bang for your buck contender.
@@MarkYoshimotoNemcoff makes sense. Lots of options nowadays. Btw...have you ever tried the really dark Warbler V? It intrigues me with it's darkness.
@@MrSeeker42 I haven’t. But when it first came out years ago I emailed Guosheng to buy one and he talked me out of it. He said it would be too dark for VO. I respect that. I’ve read people say it’s kind of ribbon-like.
@@MarkYoshimotoNemcoff He may be right in one sense, but what he didn't think about is how good it would be for 1971-style VO with shag carpeting? I bet he never thought of that!
Hey Mark, so I'm back in the market and looking at the SV33.
If you had SV33 money to drop would you get any other mic instead?
What about the Soyuz?
Also heard the impedance causes issues with some preamps on the SV33?
I am really, really, really digging the SV33 and it's been really effective on a wide range of bookings. I've done a LOT of commercials on it in just the last couple of weeks and character voice stuff and it has really delivered. The impedance on it is really low, 65 ohms, which helps to retain the fidelity of those high frequencies, but I think you could potentially run into issues if your intent was to use a pre with an input transformer and drive that transformer hard for color. The SV33 doesn't want to be gritty. It likes being super clean, which is fine for VO, but I see what you're saying. It's low impedance with a higher voltage output so it's a bit of a hot signal. So far though I haven't had any issues with the UAD stuff.
The Soyuz? Ooof, that would be a tough choice. Honestly, a real toss up. I know the Soyuz is solid. Sounds like a vintage 87 and just delivers. The SV33 is pretty special, and as you can tell, I'm really enamored with it, but I still contend I need at least a few months with it to know exactly how well it will suit my overall needs. So far though, I'm more impressed with the SV33 than I have been with a mic in a long, long time. Would I buy another mic with the same money if I had to do it over? Right now the answer is no.
@@MarkYoshimotoNemcoff Thanks man, yeah, then outside of that noise floor I don't think I have anything holding me back.
BTW I have the LCT 540 Sub Zero, that thing is really transparent and clean. Glad I didn't get the Authentica.
@@GearCave LOL. Yeah the Subzero is a complete re-do of the circuit and the capsule so there was nowhere to go but up. I do want to try a Subzero at some point. The noise floor on the SV33 can seem daunting but I think it can be managed. Absolutely a “buy, but with return window” scenario though.
I have the 103, u87, 416, TG Chandler, AT 4033, i returned the sub zero 540 due to a horrible airy capsule.
So the 4 other main elements that cannot be excluded and that should always be considered are.
1) The preamp driving the mic
2) The A/D converters of the interface.
3) Acoustic Environment
4) Post production not always will you be sendinf files that are going to be processed by the client. They want the audio ready for use. So what skill level does one need to have to make these mics sound great?
Listening to audio on Beyerdynamic 770dt 88Ohms headset the U87 and the TG sound almost identical. Then on monitors and even on a smart phone.
Can you please tell us about your preamp/interface/acoustic environment? Thanks for your review.
Using
I’ve had my StudioBricks One booth since 2015. Preamps/converters have changed but mostly UAD Apollo. As far as I’m concerned, the amount of skill it takes to make a mic sound good is easier to achieve than making a mic sound like “you”, which is a factor of experience and knowledge of what emotional response you can elicit from your performance. :)
@@MarkYoshimotoNemcoff Thank you for the great Video, when I said to make the mic sound good, well that was somewhat vague. I was referring to the audio as a final product if processed correctly and of course the VO performance is a whole different thread.
The sonic equivalent of soggy French fries😂😂
Man, I almost bought the Chandler, thank you. What do you recommend? I’m on a Austrian Audio but it’s sibilant at the night end on my vocal…
In that general price range, you can’t go wrong with the Soyuz 017 FET. It’s a mic I’ll never part with.
@@MarkYoshimotoNemcoff yeah, I saw that one but the tube one that is almost 4000 euros here. I love the sound and the look of it.
@@JuricSlaven Try the 017 FET if you get a chance. Same tone. Faster transients. Half as expensive.
@@MarkYoshimotoNemcoff unfortunately I can not try it here in Croatia cause no one sells it. That’s why I’m trying to Google everything and I almost bought the Chandler one. But thank you I didn’t.
What are your thoughts on Nordic Audio Labs 100-K mic? Have you tried it?
So what mic are youu using to record this voice over
Earthworks SV33
@@MarkYoshimotoNemcoff damn that mic sounds great but very expensive, any mics your recommend for vocals? Not to hyped in the top end
@@jer7255 Vocals or VO? Unfortunately, I don't do music and I'm really only focused on getting the best sound for pro VO so I'm not the right guy to ask about a singing mic. If you're looking for a good, yet relatively inexpensive mic without a hyped high end, it's hard to go wrong with an SM7B. For condensers, you may have to look away from the usual same-old and more at the exotic stuff like 3u Audio.
Shure Ksm 42...do You like?
Haven't tried one. I have heard they are excellent mics.
There's a good chance you weren't using the Neumann properly. I did a lot of research on it before buying one.
...a lot. Seriously, I want that time back.
The TLM 103 is meant to be used in a room, not a booth. It'll sound "boxy" if there's not enough space to balance the sound. It was designed for a studio.
Yeah, maybe it's not meant for you. Don't blame the microphone though.
It’s not that it sounded boxy, either in my booth or the room I worked in before the booth, it was the sibilance that was very problematic. The low end I could have dealt with. But you’re right, the TLM 103 was designed to spot record orchestras from a distance while retaining great detail. It was not the right work tool for me so I replaced it.
Totally agree!
#Truth